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Cinema, New Releases, Reviews

Cinema Review: Gladiator II – an Epic Sequel that Echoes the original in Eternity

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CINEMA REVIEW: GLADIATOR II (2024)

Directed by Ridley Scott

Screenplay by David Scarpa

Story by Peter Craig, David Scarpa

Based on Characters by David Franzoni

Produced by Ridley Scott, Michael Pruss, Douglas Wick, Lucy Fisher, Walter F. Parkes, Laurie MacDonald and David Franzoni.

Main cast: Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, Connie Nielsen and Denzel Washington.

Cinematography by John Mathieson

*** MAY CONTAIN SPOILERS ***

Ridley Scott’s Gladiator (2000) stands as a modern genre classic, redefining the historical epic with its visceral storytelling, evocative visual style, and emotional depth. The film not only revitalized interest in the sword-and-sandal genre but also solidified Russell Crowe as a major star, earning him an Academy Award for Best Actor. Crowe’s portrayal of Maximus Decimus Meridius—a betrayed Roman general seeking justice—exudes both raw power and profound vulnerability, making him an enduring figure in cinematic history.

Gladiator’s superb screenplay intricately followed the structure of Joseph Campbell’s Hero’s Journey, charting Maximus’ transformation from a celebrated general to a fallen slave, and ultimately to a venerated martyr. Also invoking the archetype of one of Christopher Booker’s seven basic plots, ‘Overcoming the Monster’. Indeed, Maximus’ journey aligns with the ‘Overcoming the Monster’ archetype, where the hero confronts a seemingly insurmountable evil. Commodus and the Roman Empire embodies the “monster,” wielding unchecked power, moral corruption, and cruelty. Maximus battles not only physical opponents in the gladiatorial arena but also the corrupt system that Commodus represents. His ultimate triumph over Commodus is both personal vengeance and symbolic justice, restoring balance to a fractured world.

Finding Ridley Scott at arguably the height of his directorial power, Gladiator’s success rested on its ability to blend archetypal storytelling with deeply human emotions. It revitalized the historical epic for modern audiences by prioritizing character-driven drama over spectacle, though its battle sequences remain iconic. With its sweeping Hans Zimmer score and Russell Crowe’s unforgettable performance, the film transcended its genre, made a lot of money and become a modern myth that continues to resonate with audiences worldwide. So, the burning question is why did it take so to make a sequel?

I’d say the answer to this question is that because the original was so iconic and powerful it didn’t need a sequel. Still, when has that ever stopped the money-making behemoth of the Hollywood machine from not following up. The surprise is that it took twenty-four years to bring to the screen. Which is a similar length of time after the first one that Gladiator II (2024) is set, namely 211AD. Similarities do not cease there.

So, I will just say I had so much fun watching Gladiator II. It is an exhilarating return to the grandeur of the Roman Empire, delivering breathtaking visuals, high-stakes action, and a muscular lead performance from Paul Mescal as Hanno, a fighter with a mysterious history. However, despite its ambitious scale and technical brilliance, the sequel draws heavy parallels to the original, feeling more like a reimagining than a bold continuation. Hanno’s journey echoes Maximus’ so closely that it lacks the freshness that made the 2000 film a groundbreaking modern epic.

Indeed, Hanno’s arc is essentially a mirror image of Maximus’ but while Gladiator II adheres to the same Hero’s Journey structure that defined the first film, the beats feel overly familiar. Hanno’s transformation, while compelling, doesn’t quite reach the mythic resonance of Maximus’ odyssey. Where Maximus was a reluctant hero drawn into a larger-than-life struggle, Hanno’s motivations and journey feel more cloudy and contrived, lacking the gravitas of the original’s moral and emotional complexity. Script and character inconsistencies do not help, with Hanno too quickly switching emotions where Connie Nielsen’s Lucilla is concerned.

That said, the sequel contains many strengths. The world-building is as immersive as ever, with Ridley Scott’s regal direction ensuring that every frame pulsates with life and detail. The sheer energy and brutality of the Colosseum set-pieces are worth the admission alone. The flooding of the arena battle and introduction of a number of fantastic and vicious beasts are especially memorable. The action is bloody and gripping, the score soars, and the themes of resilience and justice remain timeless. Moreover, Mescal delivers a commanding performance, injecting moments of raw intensity and vulnerability into the role.

Having said that, it is Denzel Washington’s Macrinus who pulls narrative focus and power throughout. Washington brings his trademark gravitas and charisma to the role, crafting a character arc that is both morally complex and emotionally resonant. Macrinus’ journey of manipulation, becomes the film’s most compelling thread, overshadowing Hanno’s more conventional hero’s path. Washington imbues Macrinus with subtlety, allowing audiences to see flashes of vulnerability and moral conflict beneath his stoic exterior. He oscillates effortlessly between commanding authority and quiet introspection, making every line delivery impact. Washington’s natural charisma ensures that Macrinus commands attention in every scene. His dialogue crackles with intensity, and his moments of silence speak volumes, often eclipsing Hanno’s more straightforward emotional beats.

Gladiator II undeniably thrills as a cinematic experience, but its adherence to the original’s blueprint leaves it struggling to step out of Maximus’ shadow. While it showcases the enduring power of its core narrative themes, it ultimately feels more like a polished homage than a groundbreaking sequel, relying on echoes of past triumphs rather than forging an entirely new path. For fans of the original, this familiarity is a strength and weakness, yet nonetheless Scott’s epic facsimile remains a powerful and bone-crunching adrenaline rush.

Mark: 8 out of 11

horror, New Releases, Reviews

Cinema Review: Heretic (2024) – A Devilish Twist on Religious Horror

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Heretic (2024)

Directed by Scott Beck & Bryan Woods

Written by Scott Beck & Bryan Woods

Produced by Stacey Sher, Scott Beck, Bryan Woods, Julia Glausi and Jeanette Volturno

Main cast: Hugh Grant, Sophie Thatcher, Chloe East and Topher Grace.

Cinematography by Chung Chung-hoon

Hugh Grant has been leaning into edgier, more complex roles in recent years, breaking away from the charming, rom-com archetype that first made him famous in films like Notting Hill (1999) and Four Weddings and a Funeral (1994). His performance as the scheming Fletcher in The Gentlemen (2019) showcased his versatility and willingness to play morally ambiguous, darker characters, a notable shift from his earlier, more likeable characters. Additionally, his involvement in projects like Heretic (2024) demonstrates a continued exploration of grittier, layered personas, signaling a reinvention of his career as he embraces unconventional, often villainous roles that display a new level of depth and unpredictability.

In the theologically-driven horror thriller, Heretic (2024), he portrays a certain Mr Reed, who is door-stepped by two Mormon missionary’s, Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East). After the opening scenes which establish empathy for the Mormons, despite some slightly risque dialogue, they knock on the door of Mr Reed and soon the tension begins to rise as he clearly has ulterior motives. But what could they be?

The excellent script by Scott Beck and Bryan Woods truly comes alive in the second act, diving into a sharp, intelligent critique on the nature of religion and faith. The narrative shifts into thought-provoking territory, dissecting the contradictions and complexities of belief systems with nuance and wit. Hugh Grant, delivers these lines with palpable relish, embodying a character that’s both captivating and unsettling. His performance amplifies the script’s incisive commentary, bringing a darkly charismatic edge to the film’s anti-treatise that leaves a lasting impression on the viewer. There’s some great humour in there too, even name-checking South Park and The Book of Mormon during a thrilling game of verbal cat-and-mouse as Mr Reed challenges the sweet missionaries’ whole doctrine. Which, let’s face it, as invented by Joseph Smith, is arguably founded on many ridiculous ideas.

Heretic loses some of its originality toward the end as it leans into familiar horror and “final girl” tropes, diluting the impact of its earlier, more mazy, twisted and thought-provoking narrative. After building a layered critique on religion and faith, the climax reverts to predictable genre conventions, somewhat undermining the complexity established in the second act. This shift might feel like a missed opportunity, as the nuanced themes give way to traditional horror cliches that prioritize shocks over substance. While still entertaining, the reliance on these tropes makes the conclusion feel less daring compared to the film’s more intellectually ambitious setup. Still, Hugh Grant’s devilish Mr Reed and a fantastic soundtrack, make it well worth the admission fee. Meanwhile Woods and Beck again prove themselves as genre filmmakers worth keeping faith with.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews, Shudder

HORROR REVIEWS: SPEAK NO EVIL (2022) / SPEAK NO EVIL (2024)

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SPEAK NO EVIL (2022)

Directed by Christian Tafdrup

Written by Christian Tafdrup and Mads Tafdrup

Main Cast: Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders, Liva Forsberg and Marius Damslev.

Speak No Evil (2022), directed by Christian Tafdrup, is a chilling psychological horror that explores the perils of politeness within middle-class sensibilities, turning everyday discomfort into a waking nightmare. The film follows a Danish family with a young daughter, visiting a Dutch family unit, only to find themselves trapped in a horrifying and twisted game of cat and mouse. All smiles and charisma at first, the ‘Alpha’ Patrick, dominates his wife and young son, who unfortunately has no tongue. Tafdrup deftly dissects how the fear of offending others—deeply ingrained in bourgeois values—leads the protagonists to ignore increasingly unsettling behaviour.

Losing or not using one’s voice is inherent within the text. Further, what begins as awkward social tension escalates into something far more sinister, as the family is manipulated through their desire to maintain decorum. This dynamic plays on the anxieties of modern, polite society, where confrontation is often avoided at all costs. The film’s climax delivers a shocking, almost biblical punishment for their inability to break free from these conventions, suggesting a moral reckoning for those who allow fear of impoliteness to override survival instincts.

Subtle, creeping dread makes Speak No Evil (2022) a disturbing meditation on the dangers of middle-class complacency, and the terrifying consequences of choosing politeness over personal safety. Lastly, the film also explores the theme of toxic masculinity as the muscular ‘Alpha’ threatens the ineffective ‘Beta’ male, proving one should always stand up to bullies or face the consequences.

(Note: for those seeking out the film in the UK, it is currently screening on Shudder.)

Mark: 8.5 out of 11

SPEAK NO EVIL (2024)

Directed by James Watkins

Screenplay adaptation by James Watkins

Main cast: James McAvoy , Mackenzie Davis, Scoot McNairy, Alix West Lefler, Dan Hough, and Aisling Franciosi

The English remake of Speak No Evil (2024) delivers a faithful and unnerving adaptation of Christian Tafdrup’s original, with James McAvoy’s chilling performance at its heart. McAvoy, playing the charming yet menacing antagonist, brings a sinister edge to the character that heightens the tension and discomfort throughout the film. His portrayal effortlessly captures the unsettling power dynamics, making each of his polite gestures and subtle manipulations all the more terrifying. McEvoy relishes every moment of this characterful performance.

What truly stands out in this remake is how it retains the meticulous craftsmanship of the original. The film carefully balances tension, awkwardness, and psychological dread, maintaining the slow-burn atmosphere that made the Danish version so unsettling. Director James Watkins ensures the pacing and visual style honour Tafdrup’s vision, with each shot and interaction loaded with unease. Watkin’s adaptation also provides further exposition and fleshes out the character dynamics and motivations, notably with the children, whose actions are integral to propelling the narrative thrills.

The Cape Fear (1991)-style climax veers away from the original’s more subtle, thought-provoking and bleak ending. However, it further amplifies the anxiety, offering a nerve-shredding confrontation that feels both inevitable and brutal. The remake pays homage to the original’s themes of social etiquette, hidden danger and finding one’s voices against bullies, while delivering a climactic showdown that mirrors the power struggles found in classic thrillers. Overall, like the original Speak No Evil (2024) successfully inverts the home invasion dynamic, making it a worthy, terrifying and almost necessary remake.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: BLINK TWICE (2024)

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Directed by Zoë Kravitz

Written by Zoë Kravitz & E.T. Feigenbaum

Produced by Bruce Cohen, Tiffany Persons, Garret Levitz, Zoë Kravitz and Channing Tatum

Cast: Naomi Ackie, Channing Tatum, Christian Slater, Simon Rex, Adria Arjona, Kyle MacLachlan, Haley Joel Osment, Geena Davis and Alia Shawkat etc.

Cinematography by Adam Newport-Berra

*** MAY CONTAIN SPOILERS ***

The theme of toxic masculinity is almost becoming a sub-genre of itself in the wake of the #MeToo movement. Films such as The Royal Hotel (2023), How to Have Sex (2023) and Men (2022) are powerful genre films which take the manipulative, malevolent and violent aspect of men, utilizing it as both nemesis and a destructive force the main protagonists must contend with. While She Said (2022) dealt specifically with the Harvey Weinstein legal case, Zoe Kravitz’ energetic blend of genres in Blink Twice (2024), takes a more fictional and heightened route while exposing the horrors surrounding the potential happenings at the notorious Epstein Island.

Frida (Naomie Ackie) and her friend Jess (Alia Shawkat) work at an exclusive event where Frida meets Slater King (Channing Tatum), a billionaire tech mogul who recently resigned as CEO after a public scandal. Despite the scandal Frida and Jess gladly accept an invitation to his private island, where his assistant Stacy (Geena Davis) confiscates their phones. The island hosts Slater’s friends and business partners along with three glamorous guests including Sarah (Adria Arjona). The men and women are treated to lavish rooms, gift bags, gourmet meals, cocktails, and party like hedonistic rock stars drinking champagne and taking hallucinogens.

If you’ve seen the similar island-based, The Menu (2022), which I loved, plus the less than riveting 1950’s perfect suburb-set, Don’t Worry Darling (2022), one soon realises that not all is well in paradise. Amidst the sun, sea and partying the narrative slowly builds the tension until Frida and Jess begin to suspect all may not be as it seems. Kravitz carefully ratchets up the tension, with several strange discoveries heightening the paranoia and anxiety. Latterly the suspense gives way to all-out gory horror and black comedy in the thrilling final act. Naomi Ackie and Adria Arjona are impressive “final girls”, however, the script arguably throws in too many twisty reveals at the end, testing narrative credibility.

Zoe Kravitz is clearly a talented filmmaker and Blink Twice (2024), while unsubtle, is highly entertaining. But does the diversion to the horror genre dilute the power of the themes of toxic masculinity? Kravitz aims to critique the evils of men by showcasing male characters who embody arrogance, dominance, and emotional suppression. But while Kravitz may intend to address toxic masculinity, the reliance on traditional horror tropes potentially undermines this message by exaggerating characters, victimizing women, and prioritizing sensationalism over substance. Still, as a revenge fantasy, Blink Twice (2024), is both stylishly and dynamically rendered.

Mark: 7.5 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: TRAP (2024)

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CINEMA REVIEW: TRAP (2024)

Directed by M. Night Shyamalan

Written by M. Night Shyamalan

Produced by Ashwin Rajan, Marc Bienstock, M. Night Shyamalan

Main cast: Josh Hartnett, Ariel Donoghue, Saleka Night Shyamalan, Hayley Mills, Alison Pill, Jonathan Langdon, etc.

Cinematography by Sayombhu Mukdeeprom

*** CONTAINS SPOILERS ***

If you’re into mysterious and suspenseful genre films, M. Night Shyamalan’s most recent works Old (2021) and Knock at the Cabin (2023) left a lasting impression on me. Both movies dive deep into the human psyche, exploring themes of time, fear, and the unknown, and I really enjoyed them. Old (2021) combined Shyamalan’s signature twisty narrative with a meditation on the passage of time. Sure, the ending was over-cooked but I thought it was a brilliant Twilight Zone infused ensemble suspense twister. Meanwhile, Knock at the Cabin (2023) was a compelling claustrophobic apocalyptic thriller finding a family faced with making a horrendous sacrifice. While he is not everyone’s cinematic cup of tea, I for one have enjoyed Shyamalan’s recent output.

His latest high concept B-movie thriller is called Trap (2024). It stars Josh Hartnett as a loving and attentive father, Cooper Adams, who takes his teenage daughter, Riley, to see Lady Raven (Saleka Night Shyamalan) in a huge concert venue. Obviously, musical-based films such as A Star is Born (2018), Purple Rain (1984), and Bohemian Rhapsody (2018) feature gigs as part of their genre conventions. Here in Trap (2024) the concert becomes much more than that. Because Cooper is in fact a serial killer, and acting on a tip-off, the authorities and FBI profiler, Dr Josephine Grant (Hayley Mills), mobilize to turn the location into a means to ensare him. Thus, the whole concert becomes a living, breathing trap, a maze with which Cooper must avoid capture while ensuring his daughter, and the law, do NOT discover his evil dark side.

What follows is a dynamic series of situations where Shyamalan asks the audience to identify with Hartnett’s ‘Butcher’ and see if he can escape the law as they close in. As the music blares and the lights flash, you’re drawn into the tension of a manhunt. The ‘R and B’ pop music, while not my thing, is actually pretty decent as performed by Shyamalan’s daughter, Saleka Night Shyamalan. Can ‘the Butcher’ outsmart the law and vanish into the night, or will he be caught in this electrifying game of cat and mouse? The script certainly answers that in a thrilling set of scenes and confident twists. Of course, it’s all highly improbable and preposterous, but I found all the contrivances incredibly entertaining.

Trap (2024) has some dark and crafty humour in there too, notably in Hartnett’s committed performance. At times I almost thought he was going to speak to the audience directly. I love it when you can see an actor reveling in their performance and Hartnett has so much fun playing this OCD-controlling-complex-double-life-leading family man and serial killer. Thematically, the film is strong too as Cooper is locked in a psychological and emotional struggle against powerful matriarchal figures who inhabit his world. These are represented by his deceased mother who haunts his thoughts and the very-much-alive, Doctor Grant, the psychologist charged with stopping him.

While Trap (2024) requires the audience to swallow a huge piece of “suspend disbelief” pie, Shyamalan infuses Hitchcock levels of suspense – think Rope (1948) on steroids – that had me gripped all the way. It isn’t meant to be taken too seriously and does contain some massive plot-holes you can drive a tour bus through. But I didn’t care as Trap represents another chunk of thoroughly enjoyable genre cinema from M. Night Shyamalan.

Mark: 8 out of 11

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CINEMA REVIEW: FURIOSA – A MAD MAX SAGA (2024)

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CINEMA REVIEW: FURIOSA – A MAD MAX SAGA (2024)

Directed by George Miller

Written by George Miller & Nico Lathouris

Based on characters by George Miller & Byron Kennedy

Produced by: Doug Mitchell & George Miller

Main Cast: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme, Angus Sampson, etc.

Cinematography by Simon Duggan

*** CONTAINS SPOILERS ***

George Miller’s fifth entry of the Mad Max series is Furiosa: A Mad Max Saga (2024). Given the meaning of the word ‘saga’ is defined as, “a long story of heroic achievement, especially a medieval prose narrative in Old Norse,” it’s an attempt by Miller to connect the Mad Max films to mythical storytelling and folk lore, yet paradoxically set such ye olde yarns in the future. Conversely, while being part of the post-apocalyptic sci-fi sub-genre, there is certainly more than a suggestion of marauding and pillaging Vikings within the freakish characters of the radioactive Aussie wasteland.

Of course, the hi-tech and vehicular monsters smashing up and down the ‘Fury Road’ render the action far from the medieval, replacing long boats for super-charged two, three and four-and-more-wheel souped-up demons driven by mutated future humans. The gigantic rock, bullet, fuel, and scrap metal designed bases of ‘The Citadel,’ ‘Bullet Farm’ and ‘Gas Town’ inhabited by these tattooed ravagers, while rough in exterior represent humanity’s industrial survival and base-building instincts par excellence. So much for the imperious nature of Miller’s world-building, what of the narrative?

If one is honest, the screenplays for all four of the previous Mad Max films are the exercises in economy, with hard-cut structures, granite-boiled dialogue often spat out via twisted one-liners, and poetically yelled slang-speak. Introduced as a maverick cop, but loving family man in Mad Max (1979), Max Rockatansky (Mel Gibson) is essentially a cops-versus-gangs-meets-revenge exploitation thriller. By the time gangs have killed his family and nuclear war has destroyed the world, Max has become the Road Warrior (1981), in what is one of the greatest action films and sequels of all time. However well regarded the mayhem of Fury Road (2015), and it is incredible, The Road Warrior remains one of my favourite films ever.

Beyond Thunderdome (1985) was the slicker third film, and while the action was terrific, there was too much money and sheen in there, reminiscent of what they did with the glamoured cast in the last season of Game of Thrones. Plus, the script was broken in half, with an amazing first section set in Bartertown with Tina and crew, before giving way to a more philosophical, but less exciting kids-in-a-commune driven story. In comparison Furiosa: A Mad Max Saga (2024) is certainly the most ambitious of all the narratives. It is set over several years, from the moment Furiosa (Alya Browne) witnesses her mother killed by Dementus (Chris Hemsworth) and his nasty marauders, to her rites of passage ascent toward gaining a vicious revenge.

Keeping the literary theme, the film is set over five chapters replete with headings to let the audience know what is about to occur. Easily the most impressive is – Chapter III – The Stowaway – where Furiosa comes of age in action during a brutal and mind-blowing action set-piece as the Octoboss, goes rogue and launches an air assault on the “War Rig” as it races along the ‘Fury Road.’ Here Furiosa also bonds with Praetorian Jack (Tom Burke) and the two become partners, with George Miller throwing in an under-cooked romance amidst the petrol, dust, blood and fire.

It is great that Miller and his co-writer Nico Lathouris have strived for more emotional depth and epic storytelling within Furiosa: A Mad Max Saga (2024). However, I felt that at times the rapid pacing and ramped-up action crushed any feelings I may have had about the characters of Furiosa and Jack. Plus, the film suffers a serious case of “prequelitis” where one is joining the dots of Furiosa’s backstory to connect with Charlize Theron’s characterisation in Fury Road. Yes, of course, we find out how she had her arm torn from her body, her drives and motivations, plus how she became a kick-ass future road warrior.  

Taylor-Joy is striking in the all-action role of Furiosa, but a little anorexic on screen to really dominate. Gibson and Hardy are a hard act to follow! Tom Burke stands out amidst the support ensemble, while Chris Hemsworth treats us to another revved-up messianic lunatic. With the character of Mad Max on hiatus, the true stars of this show are Miller and his impressive production, camera, editing, driving, effects and stunt teams. They have once again produced cinematic carnage of the highest order.

Mark: 8.5 out of 11

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CINEMA REVIEW: CIVIL WAR (2024)

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CINEMA REVIEW: CIVIL WAR (2024)

Directed by Alex Garland

Written by Alex Garland

Produced by Andrew Macdonald, Allon Reich, Gregory Goodman

Main Cast: Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno, Nick Offerman, etc.

Cinematography by Rob Hardy

*** MAY CONTAIN SPOILERS ***

Alex Garland has an impressive literary, cinema and televisual curriculum vitae. He gained acclaim as the writer of the novel, The Beach, before moving onto screenwriting duties with fine films such as: 28 Days Later (2002), Sunshine (2007), Never Let Me Go (2010), and under-rated Dredd (2012). He made his directorial debut with Ex Machina (2014), which earned him an Academy Award nomination for Best Original Screenplay. His second film, Annihilation (2018), garnered further acclaim, so much so, FX bypassed a pilot and went straight to series for his science fiction TV narrative, Devs (2020).

While I am a massive fan of Garland’s work, I wasn’t too enamoured of Annihilation (2018). I found it brilliantly made with some fantastic concepts and incredible moments, yet overall it was too slowly paced. With eight superlative episodes of Devs (2020), Garland delivered a story which really connected with me by merging a compelling technological espionage plot to an intelligent exploration of philosophical thought and human behaviour. Where Devs (2020) presciently examined the impact of artificial intelligence, Garland’s new political thriller, Civil War (2024), prophetically imagines an apocalyptic America in the throes of war between combined California and Texas state rebel forces and the current President’s (Nick Offerman) retreating army.

With the ‘January 6 United States Capitol attack’ in mind, Garland opens up a “what if” narrative where the whole of America is conflicted and consuming itself from within. At the heart of the violence is the war photographer, represented by Lee Smith (Kirsten Dunst) and Reuters journalist, Joel (Wagner Moura). Their journey to Washington to photograph the President reveals confusion, destruction and further bloodshed. Generically speaking, a road movie meets dystopian thriller, Civil War (2024) contains thought-provoking themes and incredible cinematography, but with shaky writing in places.

Films about war photographers and/or journalists can be problematic for me. Such characters lend themselves to heroic and the anti-heroic. The writing has to be right because I can lose empathy between such crusading journos and the narcissistic adrenaline junkies looking to deflect their own loathing and self-destructive tendencies. Civil War (2024) struggled to get me onside with the lead characters, although Dunst’s characterisation of Lee Smith is superb. However, her mentor-apprentice relationship with Cailee Spaeny, Jessie Cullen, was under-developed. Spaeny’s “innocent” being used more as a suspense device as opposed to learning the true horrors of humanity and war. Perhaps Garland intended for her to be a sociopath without depth just looking for blood? She finds it!

Moreover, Jessie’s journey from a political perspective was weak as there was no real sense of development in her character. That’s where the decision not to overtly take political sides causes a lack of sociological depth. War films such as Salvador (1986) and The Killing Fields (1984) are more successful as Civil War (2024) loses political impact by not choosing precise sides. But I guess whether they are Democratic or Republican is the whole point. Garland is saying that political parties are all as bad as each other, with human beings their own worst enemy. Politics, like football, gender, sexuality, and religion, are propellants for humans to fight each other.

For a film about photographers, the images on show are incredible and Rob Hardy’s work is genius. Fire, blood and war have never looked so brutal and aesthetically impressive. As well as Dunst, Wagner Moura and Stephen McKinlay Henderson are terrific in their respective roles. Further, there are some nail-biting and suspenseful scenes, notably one involving a film-stealing performance from Jesse Plemons. However, many of the characters’ decisions were weakly written for me. This is surprising given Garland’s prodigious literary and screenwriting talent. Civil War (2024), however, remains another stunning addition to his oeuvre and for all my perceived script weaknesses, the hell of war has never been so artistic and artful.

Mark: 8 out of 11

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CINEMA REVIEW: THE IRON CLAW (2023)

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CINEMA REVIEW: THE IRON CLAW (2023)

Directed by Sean Durkin

Written by Sean Durkin

Produced by: Tessa Ross, Juliette Howell, Sean Durkin, Angus Lamont, Derrin Schlesinger

Cast: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Stanley Simons, Holt McCallany and Lily James.

Cinematography: Mátyás Erdély

*** CONTAINS SPOILERS ***

According to research on the internet the biggest killer of men in the UK under fifty-years of age is suicide. Nationally and locally seventy-five percent of those that die by suicide are men, with the highest numbers being forty-five to fifty-four years of age. In the USA, reports show suicide is the second leading cause of death among Americans ages ten to thirty-four, and the fourth leading cause of death in the thirty-five to fifty-four age group. I personally have known two close male friends who have taken their own lives in the last decade.

In addition, mortality rates for professional wrestlers are reportedly up to 2.9 times greater than the rate for men in the wider United States population. Statistics also show that the early deaths of professional wrestlers were significantly higher than that of athletes in other sports. Potentially due to the consistent mental and physical detriment as well as a proclivity toward higher rates of cardiovascular disease, depression and drug addiction. Thus, with this in mind, Sean Durkin’s film, The Iron Claw (2023), a profile of the Von Erich family, while full of exciting wrestling action, is NOT one of those generic feelgood underdog sports dramas. It is however a complex exploration of masculinity, familial pressure, sports politics, suicide, grief, religion, addiction, love, and the resilience of the human spirit.

A prologue establishes Jack “Fritz” Von Erich (Holt McCallany) as an uncompromising professional wrestler in the 1960s with a signature move called the ‘Iron Claw.’ A number of years later Von Erich Snr. is a wrestling promoter who runs successful WCCW events in Texas. His unique selling point for the shows is that he has four sons, Kevin (Zac Efron), Kerry (Jeremy Allen White), David (Harris Dickinson) and Mike (Stanley Simons), who throughout the narrative, all test themselves to the limit in the wrestling ring.

While it is certainly a strong ensemble cast, the main focus of Durkin’s compelling screenplay is Zac Efron’s, Kevin. A strong, fast and muscular athlete in the ring, Kevin, however, is not a confident personality out of it. He, and his brothers, live in the shadow of his domineering father, who controls and dictates to those around him. Jack’s resentment at not winning the NWA Worlds Heavyweight Championship during his career, and dissatisfaction at the politics of the higher-ups in wrestling, has made him a bitter, angry man. Thus, the theme of toxic masculinity bleeds throughout the story as Jack keeps his sons, and wife (Maura Tierney), under control. Therefore The Iron Claw (2023) is not just a signature wrestling move, but also the means with which the Von Erich family are treated by Jack.

There are moments of glory in the ring for the brothers, notably Kevin, Kerry and David in The Iron Claw (2023). Indeed the wrestling action is often pulsating and Durkin does include several genre-pleasing action montages. But, tragedy is never far away from the Von Erich family. Kevin even tells his wife-to-be, Pam (Lily James) that he believes the family are cursed. She dismisses this, but given what occurs during the film and the heartbreak which befalls the brothers, you begin to think he may be right. As Kevin, Zac Efron gives an incredibly moving performance as the brother seeking love, success and family community. Lastly, I truly disliked Sean Durkin’s last film The Nest (2020), as it said very little about people I did not care about. The Iron Claw (2023), on the other hand, says so much about people I was emotionally rooting for, with Kevin Von Erich in particularly admirable as he showed ultimate fighting spirit by surviving such unforgiving loss.

Mark: 9 out of 11

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CINEMA REVIEW: THE ZONE OF INTEREST (2023)

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CINEMA REVIEW: THE ZONE OF INTEREST (2023)

Directed by Jonathan Glazer

Written by Jonathan Glazer – based on The Zone of Interest by Martin Amis

Produced by James Wilson, Ewa Puszczyńska

Main cast: Christian Friedel, Sandra Hüller, Imogen Kogge, etc.

Cinematography by Łukasz Żal

Sound Designer: Johnnie Burns

Music by Mica Levi

Jonathan Glazer is not the most prolific of directors, so when he releases a film it provides powerful cinematic coffee to wake up the cultural senses. His last film, the mesmeric Under The Skin (2013), is one of the most original of the century for me and once again with, The Zone of Interest (2023), Glazer has determined to take a provocative approach to cinematic form, style and themes.

I usually advise near the top of my reviews that the piece may contain spoilers. However, there is so little plot in The Zone of Interest (2023), that is difficult to give anything away. The depth of the story comes from the intellectual approach to cinematic form and the wartime setting, with a narrative based on Martin Amis’ novel about the Holocaust and specifically, the concentration camp, Auschwitz. But Glazer only hints at such Nazi barbarism as the point of view of the film is presented solely from the commandant Rudolf Hoss’ (Christian Friedel) and his family’s perspective. Glazer and his outstanding production team deny us sight of the death and torture from within the Hoss house and garden.

Glazer and his sound designer, Johnnie Burns, employ powerful aural style to incredible effect as screams, tools smashing, gun shots and shouting pierce the screen throughout. Mica Levi’s minimalist score also punches through to startle too. Further, as the Hoss family, notably his spoilt children and privileged wife (Sandra Huller) go about their everyday business puffs of smoke billow over their garden as they remain unimpacted by what is occurring outside. Glazer also uses negative film processing, gliding tracking shots and metronomic editing from multi-camera set-ups to stylistic devices to break the fourth wall and to reinforce the everyday routine where all is not what it seems.

One may argue Glazer’s film is experimental and anti-narrative. I rarely cared about the Hoss family and not enough of the Auschwitz inmates is seen to raise one’s emotions. Thus, The Zone of Interest (2023) is a cold and intellectual film to absorb. Yet, I would argue that it is not experimental because Glazer is so in control of the filmmaking process. His creative choices and results are delivered in an extremely confident way. Certainly I felt that the film was more anti-drama than anti-narrative or experimental. For those looking for a more conventional addition to the war film genre could be disappointed.

Ultimately, The Zone of Interest (2023) is a horror film with the barbarism hidden. As the murder and genocide are occurring, the Hoss family unit remain unmoved by such atrocities. From a safe distance the audience watch them attend parties, tend their vegetables, feed their children, eat their dinner, play games and sunbathe. Is Glazer asking if we as humanity are complicit in our privileged comfortable homes while horrors go on around us in the world? Is this Nazi version of the Garden of Eden a metaphor for the world as a whole now? Does a lack of action or inaction to known crimes make one complicit? There are no easy answers, but it gets you thinking. Just like this highly intellectual and expertly constructed work of cinema.

Mark: 9 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: ALL OF US STRANGERS (2023)

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CINEMA REVIEW: ALL OF US STRANGERS (2023)

Directed by Andrew Haigh

Written by Andrew Haigh

Based on Strangers by Taichi Yamada

Produced by: Graham Broadbent, Peter Czernin and Sarah Harvey

Main cast: Andrew Scott, Paul Mescal, Jamie Bell, Claire Foy etc.

Cinematography by Jamie D. Ramsay

Andrew Haigh is a director who has slowly built an impressive body of work over the last decade or so. I haven’t seen his first two low-budget features but have watched films 45 Years (2015), Lean on Pete (2017) and the recent brutal TV drama, The North Water (2021). Together they show Haigh to be a director capable of delivering drama of devastating power. His latest independent film, All of Us Strangers (2023) is arguably his best film to date deserving of all the awards coming its way.

Andrew Scott portrays Adam, a lonely screenwriter, who lives in a London newbuild block of flats where he seems to be the only occupant. Struggling with writer’s block he spends his days and nights remembering his parents, Mum (Claire Foy) and Dad (Jamie Bell.) Seeking inspiration for his work he revisits his childhood home in Sanderstead, Croydon during a fascinating trip down memory lane. Surprised one night by drunken neighbour, Harry (Paul Mescal), knocking at his door, Adam rebuffs Harry at first. However, the two latterly begin a love affair, with this relationship intertwined with Adam’s visits to his former home.

I won’t say anymore as I believe this is a film which benefits from knowing as little as possible, but it is safe to say that All of Us Strangers (2023) is one of the most emotionally cathartic films I have seen for some time. Even my frozen heart began to melt as I experienced Adam’s journey into the past and his attempts to find love and peace. Andrew Scott, under Haigh’s expert direction, gives an astonishing performance. Like his co-star Mescal was in Aftersun (2022), Scott just has that innate ability to convey sheer meaning from a look or the slightest of gestures. Obviously, the script and characterization provide an appreciable weight of feeling in Adam’s story, one that Haigh exerts real control over. Further, Mescal himself is excellent too, once again cementing his status as one of the best actors around.

On a low budget with just a handful of brilliant actors, Andrew Haigh demonstrates that less is indeed more. But while the locations and cast are minimal the emotional landscapes are painted on an expansive cinematic canvas. Grief, love, death, relationships and family are universal themes that are explored with fresh method by Haigh, as he delivers a film of mature power. With impactful performances, direction, cinematography, city locations and soundtrack, All of Us Strangers (2023) is a brilliant love story about loss. But, paradoxically, I didn’t feel empty or downbeat by the end, I actually felt full and lifted. 

Mark: 9.5 out of 11